In Kumu: The Song of a Wingless Bird (2021), Akanshya Bhagabati crafts a work of striking restraint and quiet force, turning her attention to the lived realities of Assam’s tea garden communities without recourse to spectacle or sentimentality.

Following its recognition at the 9th Assam State Film Awards, where it received the Nip Barua Award for Best Short Film, this conversation with Bhagabati turns to her creative process, her engagement with the community she portrays, and the aesthetic choices that lend the film its intimate force.

Dipankar Sarkar: What first drew you to the lives of Assam's tea garden communities, and how did the idea for Kumu: The Song of a Wingless Bird begin?

Akanshya Bhagabati: I spent a good amount of my time in tea gardens during my childhood years. One of my aunts was a teacher at a primary school in a tea garden near Tezpur, and her quarter was adjacent to the school where she taught. I have fond memories of that space, the people, and the very different way of life there.

So I think this subject was embedded in me long before I had any plans of making films.

During my research period, I found that the eldest daughter having to take on household and sibling responsibilities, setting aside her personal aspirations, is a very common practice in the tea gardens. And that is where the idea of Kumu began.

Dipankar Sarkar: Kumu's longing for education becomes the emotional core of the film. Why did you choose to explore the theme of aspiration through a child’s perspective?

Akanshya Bhagabati: I made Kumu in 2021 while I was pursuing my master's. During the research period of the film, I was simultaneously attending my university lectures, which were mostly being held online due to Covid.

I distinctly recall one of our professors talking about double marginalisation- essentially, how women and the girl child in a marginalised community are even more marginalised because of their gender. That knowledge, I think, gave me a lens to see what I was already seeing.

I wanted to explore the marginalised community from its most vulnerable perspective, which I felt was that of a girl child.

Dipankar Sarkar: The title image of the “wingless bird” feels less like a decorative metaphor and more like a structuring idea. When did that image enter your conception of the film?

Akanshya Bhagabati: Kumu is my debut short film, so for me, everything was an experiment. I began with a basic idea, to be honest- just the story. But slowly, during the shooting process, followed by editing and other post-production procedures, I began to feel the need to incorporate a song in the background that would speak to Kumu's inner conflict and aspirations.

Along with my mother, Jahnabee Bhagabati, who has a flair for creative writing and poetry, we crafted a few lines for the film. The lyrics of the song went something like, If I could, I would go flying to the boundaries of the sky, the new sun beckons me to the end of this sky.

It essentially spoke of Kumu's aspiration to move beyond the world she is assigned to- beyond the boundaries of her sky, which limits her. And that is where I conceived the term wingless for Kumu: a bird that aspires to fly, but cannot.

Dipankar Sarkar: In the kitchen scene where Kumu watches the rice boil, the background song introduces a note of yearning. How did you think about using sound and music to express what the characters themselves cannot articulate?

Akanshya Bhagabati: Initially, I was not planning to use any music at all. I wanted to make the film with just ambient sound. But after the rough cut, I felt there was a need to reflect Kumu's inner world more clearly, since the film had very little dialogue. That is where the idea for the song began, and I started considering using subtle music.

There is a technical reason for this as well. The kitchen scene has a very long take- I wanted to keep it long because I felt that, in the process, we get to come closer to the character. But such a long take was not very easy to execute, so the sound and music were necessary to create a very subtle hook.

Dipankar Sarkar: Nayanmoni Mura's performance as Kumu is striking in its restraint. How did you work with her to arrive at such an understated yet expressive portrayal?

Akanshya Bhagabati: Nayanmoni Mura is very talented to begin with. With those large expressive eyes, she can say more than any number of words.

In this film, I personally think casting was a very crucial aspect. Given that all the performers were non-actors, we had to be very sure of the person we chose, as a lot depended on them.

I remember meeting a lot of girls who came to audition for Kumu's role, but everyone had a smile.

When I saw Nayanmoni, there was already a pain in her face that I needed for my character.

Later, I came to know that she had just lost her father due to Covid and her family was going through a very tough time.

She was also very attentive and intelligent- she listened with sharp focus and did just what I asked her to, nothing more, nothing less. That made me realise I couldn't have found anyone better.

I had a very clear idea of what I wanted from her, which I believe helped me guide her through the process. Because she was not very used to facing the camera, we had to take multiple takes, and I am truly grateful to Nayanmoni, our DOP Chida Bora, and the entire team for keeping that level of patience with me.

Dipankar Sarkar: Now that the film has travelled through festivals and received recognition, including the Assam State Film Awards, what does this achievement mean to you?

Akanshya Bhagabati: To begin with, I never thought Kumu would come this far. When you are making a film, you can only focus on expressing it the way you want- you cannot predict how people will receive it. And especially because I designed Kumu in a very unconventional way, with long and slow takes, I was not at all sure of the response.

Deep down, I do believe that achievements in art should not be taken too seriously by the creator; such external validation will blind us and condition us to conform to widely accepted standards.

However, despite everything I say, I do admit that certain recognitions are important, such as the Assam State Film Awards or those from other significant platforms. They motivate us, help us see ourselves in a different light, and, most importantly, help us reach more people.

For me, as an individual, Kumu's achievements made me feel that maybe I could make another film.

Dipankar Sarkar:  What are you currently working on, and do you have plans to develop a feature film in the near future?

Akanshya Bhagabati: I am currently pursuing my PhD in the Department of MCJ at Tezpur University.

Simultaneously, I wish to make more films. Regarding format, I have not imposed strict limitations on myself because I know certain stories can be told better through short films.

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